Sierra Madre Playhouse To Present 'Master Class,' Terrence McNally's Ode to Opera Legend Maria Callas

Tim Dang believes in the healing power of art. And he wants to show how art and, in his case theatre, can nourish the soul. He’s directing a production of Master Class, Terrence McNally’s ode to the genius of opera legend Maria Callas, for 16 performances, Friday Feb. 14 through Sunday, March 9, at the historic Sierra Madre Playhouse. (For details, see below.)

After going through the conflagration, multiple homes in the Sierra Madre’s west side were destroyed, scorched and threatened by the recent Eaton Fire. Neighboring Altadena was largely decimated. “With the challenge of the fires and what Sierra Madre has gone through, with people displaced and wondering ?‘how do I rebuild my lost home?’ I envision the play as part of the healing process,” says Dang.

Inspired By Real Life

In the play, inspired by Callas’ famed master classes at The Juilliard School, she commands the stage and audience as they witness a master class where she offers biting, funny and pointed critiques to three students.

While guiding her pupils – reaching into their psyches and insecurities – Callas reflects on her triumphs and tragedies, from her metamorphosis as a star to her turbulent relationship with Aristotle Onassis. Through sharp wit and raw touching vulnerability, she reveals the personal and professional sacrifices she made to pursue greatness.

“Her impassioned teachings and poignant reflections remind us of the profound impact that art can have on individuals and society,” says Dang. “An artist has to have passion to go into this field. Those who become big stars like ‘La Divina,’ have to be willing to bare their souls and be emotionally naked on stage. The play talks about pushing your talents to the limit and aks, ‘what price would you pay to commit to your art?’

A Culmination

Master Class crowns the Playhouse’s Lunar New Year celebration that featured theater, music, dance, film, and family programs on a range of themes including renewal, unity and cultural heritage.

“Because Maria Callas’ artistry transcends cultures and continues to inspire people around the globe,?Master Class?provides a particularly poignant culmination to our Lunar New Year festival, that embraces?the shared values that unite us all,” says Matt Cook. new artistic and executive director of the Sierra Madre Playhouse, a converted 99-seat former silent movie theater.

“Lunar New Year is traditionally observed in countries like China, Vietnam, and Korea,” says Cook. “Through this festival, we honor the unique stories and traditions within the Asian American community while also inviting audiences to reflect upon the shared values that unite us all.”

Teamwork

Dang, of Chinese American descent and originally from Hawaii, served as the artistic director of East West Players--the nation’s?longest-running Asian American?theater?and the?largest producer?of Asian American theatrical work--from 1993 to 2016. He has a strong connection to the Playhouse where he directed Nothing Is The Same, The Joy Luck Club and King of the Yees.

“Matt reached out and said, ‘it would be really great to have you back to direct.’” says Dang. “We batted ideas around and settled on Master Class. It combines his passions for music and theater." Cook, a classically trained percussionist and former executive and development director of Pacific Opera Project (POP), “has taught me a lot,” adds Dang.

“I’m not a dedicated opera fan,” says Dang. “But I fondly remember a production of Master Class we did in 2007 directed by Jules Aaron.”

Casting Challenges

“This show needs singers of high quality,” says Dang. “Most of the three students sing for less than 15 minutes, but they have to be able to sell it. It’s really important that these actors can pass as Julliard opera students. And we’re not using mics like other productions have.

“The Asian/Pacific Islander?(API)?community loves opera, and it was good to see a lot of young students, primarily from USC, my alma mater, and its opera school. auditioning. I was very, very happy about that.”

The cast includes Korean American soprano?Joanna Kim?(Sophie;?first soprano); actress?Francesca Ling?(Sharon; second soprano); opera singer?Kurt Kanazawa?(Tony; tenor), fresh from East West Players recent acclaimed production of Pacific Overtures, and who actually went to Julliard; and composer/conductor/pianist?Joshua Foy?(music director/Manny), the accompanist.

Finding A Leading Lady

“I’m proud of our Maria Callas,” Dang says of Philippine-born Broadway star Joan Almedilla?(first Asian to play Fantine on the National Tour of Les Miserables) who’s taking on the mammoth role.

“Tim contacted me about the part, and I sent an audition tape from the Philippines where I was visiting,” says Almedilla. ?“The Internet was out, but eventually it went through and after a couple of days I got the offer.”

Almedilla’s association with East West Players includes playing Donna in Mamma Mia, Jane Moore in Assassins and parts in Mama Bares in Concert: Once Upon a Play Date, Criers for Hire, Chess, Krunk Fu Battle Battle and Road to Saigon.

“I knew Joan as Kim in Miss Saigon on Broadway and in The King and I," says Dang. She joined Lincoln Center's North American tour of the musical as Lady Thiang, directed by Tony-winner Bartlett Sher. Her son went on to play one of the Royal Twins.

Following are excerpts from my interviews with Almedilla and Dang about bringing Master Class to the stage.

Why Did You Want To Do This Play?

Dang - There’s a mystique around her like Elvis. She came from a humble background and in her rags to riches story she became the epitome of opera and style and class. She was fat and ugly and remade herself, fighting to be visible and to be heard. Her life was fraught with challenges, and she fought her way to become the best.

Callas could sing What I Did For Love from A Chorus Line. In the play Callas is at the end of her career and the play asks what happens when you can’t sing anymore, but still have the passion?

What’s The Appeal Of Taking On This Part? Written for Zoe Caldwell, the part has been famously played by Patti LuPone, Tyle Daly and Faye Dunaway.

Almedilla - I remember seeing Zoe Coldwell at a Broadway Easter Bonnet Competition fundraiser. I never saw the show, but I knew about it and I aways thought, ‘maybe one day.’

Last summer I was doing South Pacific as Bloody Mary at Goodspeed. We were talking with other cast members about what we were going to do next. I said, ‘I want to do a play where I don’t have to sing and lean on melody and timing.’

I’m excited and terrified and looking forward to the challenge. Plus, she has a lot of interactions with the audience, and I like that.

My classically trained voice teacher lives in Sierra Madre, and she’s offered to let me stay with her on two-show days. SoI'm looking forward to seeing her and sharing our love of opera.

What Are The Challenges Of Taking On This Major Role?

Almedilla - I went into this saying I don’t know Maria Callas full well. But I’m getting to learn where she’s coming from and what she went through. Terrence McNally’s writing has helped me understand her passion, beliefs and method.

The way the play’s written, it veers from Callas working with the students to extended monologues where she discusses her rise to fame, the pinnacle of her success, and the eventual decline. In her mind she rages against his cruelty and brutishness and begs with Onassis, who calls her his ‘little canary.’ He was a big part of her life, and she sacrificed everything for him. Then he betrayed her, leaving her for Jackie Kennedy.

It’s in those intimate scenes where we see her vulnerability and pain. Looking at the script, it’s a mountain of material to study, learn and absorb.

What Do You Think Made Her A Great Teacher?

Almedilla - A lot of teachers tell actors to draw from their life experience to create three-dimensional characters. Callas was ‘larger than life’ and she was able to bring that quality to her big and grand characters. And I think that link is in the play.

She makes her students explore the total backstory of their character and every detail of their motivation. When a tenor can’t answer all her questions about why, where and when he’s singing a particular aria, he answers – ‘it’s not in the score.’ She tells him, “It should be in your imagination.’

Knowing the blocking and the lines is just the beginning of a performance. As a singer it’s important to have the ability to create images in your head and be transported to another world. If you can get into the mind of the character, it can be mesmerizing for an audience.

Final thoughts?

Dang – What we do in the theatre is storytelling and the largest stage of storytelling is opera. Callas sung on the largest stages of the world doing service to the opera and art worlds. To be a master storyteller is the goal of every performer, and she was one of the masters.

The Sierra Madre Playhouse?is at?87 W. Sierra Madre Blvd., Sierra Madre. Show times are 8 p.m., Fridays; 2 and 8 p.m., Saturdays; and 4 p.m., Sundays. Tickets range from $12 to $45. For tickets and information call 626.355.4318 or visit?www.sierramadreplayhouse.org

Steve Simmons is an accomplished writer and editor who writes about a wide array of topics including entertainment. This article first appeared on his blog, www.stevesimmonswrites.com Contact Steve at [email protected] or 626-788-6734.

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